253167767-elizabeth-barrett-browning-sonnet-1.docx

Elizabeth Barrett Browning Sonnet 1 Theme: Unexpectedness of love Falling in love with Robert and his returning of her love came as a great surprise to Elizabeth, considering past her circumstances.

Analysis: Reworks the traditional sonnet sequence by transforming gender roles. She utilises the female voice instead of the traditional male voice. She assumes the role of epic hero. She adopts the petrachan sonnet style. The octet’s strict rhyming pattern reflects how she feels her life has been static so far. The sestet’s alternating near rhymes modulate from ‘move’ to ‘strove’ to ‘love’ reflecting gradual emotional and spiritual movement as a result of discovering this unexpected love. The distortion of iambic pentameter reflects the distorted and unharmonic patterns of her own life. BB uses past tense show how joy escapes her- ‘once’ ‘sung’. The brevity of ‘once’ suggests that this kind of love is fleeting. ‘Once’ also has fairytale associations ‘once upon a time’ which suggests that love for her is a myth. She utilisies the classical greek reference (allusion) to Theocritus whose poem suggested that every year of life brought new happiness with it. This allusion evokes the original pastoral tradition from Sicily and implicitly allows a world of classical Italian paganism (and potential sexuality) into the world of Victorian poetry. Creates a dramatic effect by using enjambment to set off a phrase at the beginning of the sestet. volta, (Italian: “turn”) the turn in thought in a sonnet that is often indicated by such initial words as But, Yet, or And yet.The volta occurs between the octet and sestet in a Petrarchan sonnet. Here the thought continues from line 8 to 9.This suggests that the melancholy blends itself across all aspects of her life. That she remembers the poem as being ‘sung’ (past tense) also suggests that harmony and sweetness have not been a part of her life’s journey. Listing ‘the sweet years, the dear and wished for years’ ‘The sweet ,sad years, the melancholy years’. This again emphasises how much joy and beauty she has missed out on and how much she has suffered The assonance ‘sweet’ ‘dear’ elongates her loss ‘antique tongue’ classical adjectival reference, could suggest these notions are foreign to her just as an antique language is or that this happiness could only be found in the past. ‘flung’ powerful and jarring verb. Browning feels that fate has powerfully ‘shadow’ she is now an image of her former self due to the illness, suffering and oppression she has been through OR darkness has spread, there is no light of hope in her life. ‘mystic Shape’ capitalised-shape is personified. Mystic means"spiritually allegorical, pertaining to mysteries of faith," "pertaining to occult practices or ancient religions" So…this shape is foreign to her

‘shape’ "creation, form, destiny," from root of shape (v.)). Meaning "contours of the body" is attested from late 14c. Meaning "condition, state" is first recorded 1865, Amer.Eng. In M.E., the word also had a sense of "a woman's private parts." ‘hair’ :An allusion to Homer’s Iliad. Epic which begins with Athena pulling Achilles by the hair. Divine intervention by the Gods. EBB could see Browning’s love for her as divine intervention. Her allusion to Homer’s epic subtly suggests that there is something heroic and brave about this romantic engagement. The gender dynamic of this allusion should not be overlooked. At the opening of the Iliad Achilles and Agamemnon are contending over who will get to keep a captive female in his tent-an odd and interesting allusion for the beginning of feminine love sonnets. In Barrett Browning;s revision of this scene, the desiring female speaker assumes the position of epic hero. Pulled away from destructive, seductive thoughts of death, she engages with the emotional risks of love when the conditions seem to glorify her as much as her beloved; thus the speaker is both the subject and object of love, revising without entirely reversing the Pertrarchan tradition in which the woman is a silent object of admiration. This allusion to homer’s epic, as well as the heroic sonnet form, subtly suggests that there is something brave and heroic about this romantic engagement. Fate is symbolised as a woman constantly turning. Her hair had to be grabbed while she was facing you. Allusion to a A children’s game. The sestet is based on a children’s game of the time in which one child would creep up behind another, grab her hair and ask: “Guess who it is?” The poet compares falling in love to this game. She suggests than when the strange feeling (of love) metaphorically “drew me backwards by the hair”, she assumed that it was death that was seizing her (her pessimistic expectation). “mystic Shape” (line 10) suggests something mysterious and possibly sinister. In line 12: “…a voice said in mastery while I strove” suggests the power of her new feelings and her attempts to resist them because she feared them. Silver answer-colour imagery-love has found her but isn’t quite gold yet. She can sense its beauty but is distrustful and questions her own value and worth, therefore while she is joyful to find love she is wary of it. Silver also represents purity, so perhaps the answer of ‘love’ is pure and simple as further witnessed through the use of monosyllables ‘Not Death but Love’ Rang-connotative of wedding bells or announcements. Loud volume. Has it awoken her from her melancholy and sadness? Rang is also in present tense to show her awakening to love and joy, as opposed to the past tense ‘sung’ ‘wished’ Sung, Voice,Rang –the experience is auditory. Why? Siren’s call? Has she subverted this? She is like the men lead to their death? The dangers of love? Perhaps she only understands love when she hears it from someone else, she herself cannot articulate it because of her isolated existence. Bells are commonly representative of joy and freedom. The shape of the bell is closely related to the vault of HEAVEN. A bell's pendulous motion can represent the extremes of good and evil; death and immortality. Its sound is a symbol of creative power, but can also be a call to arms. Is also phallic in some senses, a bell and handle = a vulva and a phallus. Embodiment of virginity, unmarried women adorn themselves with bells.

The use of direct speech in lines 13 & 14 dramatises her surprise. The ellipsis in line 14 creates suspense before the final antithesis of “Not Death, but Love.” which highlights the great change in her outlook on life from the second quatrain. Volta: Browning plays with the Petrarchan form because she’s more intent on meaning rather than staying with form. Goes into 9th line in sestet. Provides a volta in line 13 after the caesura ‘but there’. Elipsis. The function of these is to show that she is reserved and reticent about embracing love due to her societal constraints which include: patriarchal power structure, history of illness and tragedy, feels unworthy and mistrusts herself. Sense of Self-she is aware of her limitations and cleverly questions and challenges those through her poetry. Classical Elements in Poem Petrarchan Rhyme Scheme Theocritus Antique tongue Hair-allusion to Homer’s Iliad epic The drama of death and love evokes classical drama and mythology, figures such as Orpheus and Euridyce and the figure of fate. Can read her poems as a version of the silent, suffering powerless woman

Modern Elements of Poem Reworks sonnet code: female voice Usurps masculine conventions-she’s no longer silent but eloquent Uses her structure to infer movement from stasis to an opening up of emotions Cleverly invokes sexuality and desire in a strict patriarchal society Transforms ritual of identity-sonnet is about (values debate about identity within context of conformity) She is aware of her limitations and cleverly challenges them throughout her poetry She is reserved and reticent about embracing love due to her societal constraints: patriarchal power structure, history of illness and tragedy, feels unworthy and mistrusts herself.